Memories emerge unbidden, stimulated by sensory perception embedded within the substance of material culture. These memories interact and interface, and it is this complexity of interactions and shifting meanings that we constantly tear down and negotiate. A critical aesthetic intervention into these processes can provoke highly charged recognitions for the viewer, my intention in this paper is to explore the nature of these 'critical aesthetic interventions' that make possible existential moments that bring key experience into focus. Most of the objects/artworks that are referred to in this paper are objects that occur as the detritus of performance, found objects or materials, manipulated objects or domestic objects. They are not so much about formal aesthetics, they are more resonant with aspects of use, of living; they are traces rather than representations. These objects have a 'vitality', to use Winnicott's term, I am interested in the use of these objects in participatory artworks where the 'illusory vitality of some of these objects further develops the idea of aesthetic experience as a body to body encounter. [Go to the full record in the library's catalogue]
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